so, yes, it is all permeated through and through with these, yes, yes, and whoever is not permeated, they obey, that is, this is an aggressive, as it were, company. yes, she very strongly suppressed and subjugated the rest of the people to herself, that is, this is how it can be called a continuation of the protest that took place in the twentieth year, and which continues such a protracted process, silent this time in a far-flung environment, of course, this is the place to be . yes, and here you have to spend it. so, you need to sort things out somehow. well, you have to, anyway, nevertheless svetlana is on social networks. we see a lot of rave reviews regarding your exhibition. well, victoria and i haven't been there yet . uh, we will try to fill this gap, in particular, our political scientist alexander shpakovsky. our guest has repeatedly been in our studio. he said that your work is

approved of them from the eternal confrontation. you will agree with this statement. i agree political scientists are generally actively commenting on your exhibition. here is what andrei krivosheev said, so naturalistic, somewhere even harsh realism is useful for the well-being of the health of society, then andrei, who else had, for sure, says, i literally disrupt the court, as the heroes of these portraits have just said. it's strong it's really good it's art. well, let's discuss svetlana who were the guests at your exhibition? it's basically. such bosses of political journalism, they left reviews, respectively, your exhibition is a political performance. there are also different jobs. there after all not only political work. there are uh, portraits, there and so further. well, the exhibition itself is arranged in such a

way as to tell about a person. well , lately man and politics really, directly intertwined not to break exhibit. in general, they took it as a banner, as a model. here is such a political statement. yes, painting is a political statement. this means that we can no longer talk about the neutral status of art in these circumstances. well, as it is customary for us to say that sports and the culture of sports are arts outside of politics, but here, well, the opposite is true. at least, because everyone gathered at your exhibition. well, let's just say yes politically beau monde is the political gender of belarus i would sports and culture, firstly, would simply smash two different sides, because these are, well, absolutely e areas. different that is, yes, sports indeed. it can be and should be

outside of politics, culture is completely different, another plane, human activity. that is why culture cannot and should not be obliged to anyone to be outside of politics, that is, politics is a person's life. that is, whatever one may say. uh, especially in acute periods, in some critical periods, politics comes to the fore and even people. eh, like, who loved to live without it, yes, they still plunge and still have to take some point of view , some side, there and so on. here are the critical times. we are currently living in this critical period. therefore, yes, there are some genres in culture. which may be outside of politics, for example, there, uh, there are love lyrics in

poetry. come on, what kind of politics is there no politics. she is a life landscape. yes, in painting they are out of politics, but when it comes to picture, uh, that one is there, well, the very place, as if the statement of the artist about what he thinks, yes, and, as it were, social problems. that's how the wanderers would be, yes, how much they spoke there with their work, and some kind of mood there, social problems, and so on. well, let's throw them out, that is. well, i agree with you. well, then i read. uh, you know such reviews, uh, your exhibitions are veiled under neutral ones that you still want art to be out of politics. i think this is the slyness of those who writes, because well, today yes, and in general from time immemorial. yes, it has always been a mosque.

this can not mean, well, just naive or cunning for something, yes, take such a point of view, but in our last meeting. you said that your patron is your husband, a businessman. it's a pity that he refused to be with us in the studio today, so we're going to cut it. all by listening to how he spoke about your work directly at the opening day, in a certain way. this chronicle of our history is a tool for war - this is her brain, in fact deed. here, and these are all those chills, yes, those adapts, uh, that make her life and easier. svetlana, i correctly heard that crutches and adapts are what it says in your pictures. well, in principle, it is clear that, well, that it is important for us to understand from this that he is ready for you in a general carriage. yes, in general, this is a

person who, in any case, wants you well, and does a lot for this, but the crutches are adapted to my forgiveness. okay? yes, indeed, in the past of our meeting, when we were recording svetlana, she said that they accused me of being she became a trough, and then she told the whole country that my husband, my patron of the arts, has never been under any troughs i have not been, and this is true, and you still remain. uh, status maybe? yes, unselfishly while it's good, maybe something like a little bit will be allowed to sip there, i will not refuse, because well, fir-trees-sticks. and why? actually, how would it be for people who are trying, on the contrary, er, to destroy and destroy yes, the state, they can have it there, let's say

a hall. yes, that's once a year, yeah there or for the anniversary, right? or something else for free. and i can't there is, well, why such a cry of the soul, it would not be possible to have a hall for free, and they tried, while i was going the other way, but i say that if something changes to some extent, well, it seems to me that this is because that's really the right thing to say, right? well , let's consider, please, your say. e work, which produced the effect of exploding bombs at the exhibition. we are now talking about a triptych, and here we have a fairy tale true story about belarus, the color is light. this is alexander grigoryevich on a light background and on the sides we have such dark sides. tell, please, such a frontal attack on the fugitives is your conscious. reception. generally. yes , because the masks have been dropped and on these uh

side panels, trip, people are quietly depicted, some of them have been there for a long time, some have not been there for a long time. well, nevertheless, they are all on the payroll. uh-huh are, yes, on the payroll of our enemies and are working to change a here. build here yes change everything is here. well, roughly speaking, we understand what these changes are. that is, it's all through the blood. eh, that is to break. wreck reflash, well as if that's why and how else can you speak about them, you really, because you wrote them with your brush in the history of modern belarus or modern politics. although in its history. they didn't fit in, they screwed up. well, someone got in trouble, well , somehow, for example, khalezin scheggelsky,

they work for a very long time for our collapse and, well, as if on our enemies yes, they feel great, that is, they didn’t get into anywhere. it's conscious. yes? well, well, i would say, so that this is an attack by svetlana, she reached the address. you are natural because they live by our agenda. there they have nothing more to be interested in. tatyana martynova is a fugitive, who was included in thrips. she already thanks you for the new work equipment. she, uh, agrees. in general, everything that you gave her at this work, but uh, i would probably, evgeny oleinik. i know the composer rolls out claims that, like, well, why do they show these nasty faces in museums at all. and i think that you and svetlana will be spoiled by divny. well, they made them much more beautiful than they are. really. in fact , the will of karachev can hardly be guessed karach. it's more like an artist. it

seems to me that you still feel sorry for them. well , what did pr do? this is the claim that you are being exposed to. uh, some of us including do you accept or not? i am a chronicle. yes, to some extent. that's what my husband said correctly. that is, i am a witness that there is something that testifies. i agree on this one. here is now the acute phase. yes, we are, and then in 10 years, and time is moving quickly, we will look, and well, we will experience completely different emotions, because even here yura tereh i wrote a long time ago that he imagined that if in the twentieth year he would go. square and say hello i'm a man from the future you 'll be there you'll run away there, you'll leave in the car in the trunk. people would not have believed him at that moment, and only 2 years have passed. yes, so it seems to me that from the point of view of the process. yes , what is important in svetlana is what you do. and you capture this moment. the most

sensitive zamahars accuse you of dividing society with your creativity. please accept this claim. oh, the most sensual relatives. send forests. here because this is their normal practice, as it were, when aggression fails to immediately turn into a victim and from the position of the victim try to cause a feeling of guilt there. everything, well, no, yes, not seriously, what do you think, that's for 2 years. you have already learned. in general, do not pay attention to them for criticism of their writings, which they breed after each of yours. the skin has subsided, of course, well, sometimes something stings there. well, well, without this it is impossible to predict that those who spit bile, of course, write in the old fashioned way that you caved in by painting a portrait of alexander grigorievich well, this assessment, as we

understand it, is no longer bothering you. i don't even know how to comment on this. i vote for alexander grigoryevich. i respect this person. i am a painter. i wrote it, if there is one of the artists and says that it was somehow wrong there. well, please, do it yourself. when you write works, we know that you close your workshops. you talk and don't let anyone in and all the comments are useless advice, especially, uh, how was it harder for you to work with the first one than with all the rest yes scary. because i still wanted to achieve it. that's normal there. that's the facial expressions of landing there, the figure is scary, of course, that is, if you write, karach is unsuccessful, let's say, yes, well, this is nonsense. here, if you are the president unsuccessfully, you will write. how long has it been. she has been writing for

about seven months. it's all mixed up guys. well, it's almost a daily labor. and who was the first to see this work after you? what was your husband's reaction? he says i was very worried. that is, he guessed that i would do exactly. well, he guessed, so he was worried when he came in. he said glory. god did it, then they showed it to someone else, then they showed it to someone else by reaction. uh, they showed me, the girls who wrote articles to me for the catalog veronika lukashonok, she is a poetess and philologist, and she was invited to show her right in general, like a child back. okay, okay, we realized that well, most likely. it’s normal too,

but for those who spit bile at svetlana that she caved in when she painted a portrait of alexander grigorievich, i want to to say that svetlana is not the first artist who, uh, painted portraits of the first in our studio. uh, russian artist nikas safronov and he has several works that he painted in different periods. in this, you understand, he also puts the blame that she became a safron nekos. here, too, she wrote this, and now, how do you like this comparison svetlana , artists do not like when they, as it were, are compared with other artists, that is, a certain safronov is not safronov, i am i well , that someone wrote the first person. well, as if it were always in history, you will see there, only in the first person portrait and it should be and that's fine. actually. and that they didn’t mention such a jeans to the cossacks, they

immediately wrote a picture, but they painted zelensky in an embrace with the statue of liberty in bed, by the way, before the double there was some kind of even on television, that is, our zamahars won’t say that this is bad. here they will never say this, because it is never like that. this is different. mm. these are the ones you can write. yes, but lukashenka and putin cannot be described there. i notice a lot. good? for whatever reason, when for example, if you say something about lukashenka, it’s good. you are the corrective right away. well, how they sing even the polish incas, like yes, here's an anecdote of their presidents, how dare they not, after all. we even remember the stories of protasevich's novel, as he said that it was impossible to criticize. if at first

something else was possible there, then then a word about their icon could not be said at all, it was impossible to strictly censor telegram channel. say don't be silent. subscribe ask questions and suggest guests we are in touch. on the air again , say, don't be silent, and our guest is the artist svetlana zhegemont svetlana is a poet and writer, and anatoly avrotin is so struck by your work that he dedicated a poem to you? let's read a few lines. a brushstroke to the bridge inside woke up a genius drives, then fun is in melancholy, and the brush almost sings between two insights, judas or christ brushstroke thank you brushstroke, anatoly is very touched. it looks like

your internal state when it was created this triptyk, it's really unclear what will happen there. here it seems to me. do you have a fear of a white canvas, go there. yes, and someone will step through there. it is not clear yes, at the beginning of each work, of course, you always do not know whether it will take place or not. and there are some unfinished works that you can't m-m yet approach to complete, if i left something, i'll never take it, for that. i'd rather write another one, because, well, it's like there is some kind for me. here is the barrier. well, if i told myself everything. uh, there after a year or two, even after seeing some things that you would have done better right now. for some reason i won't do it anyway. it's better to start a new one when just when you start, well, probably all artists know they work there at first. here

you are on fire, everything is quickly easy for you, it goes beautifully, there is inspiration and it is very difficult to always finish any, in principle, work is very difficult. well, let's finish here, so hmm if it didn't work at first. well no, it will be easy. well, thrown away time for a while, i think i agree. as a creative person, i understand it’s better to rewrite it than to change the essence there. and i ’ll ask such a question in my own footsteps, and once i saw svetlana’s peonies, which struck me right in the heart, i wrote to her i want to buy right there, as she put it up. she says, uh , that's it already, that is, i understand that you are actively selling your work. yes, svetlana, well, not so active somehow from time to time, but for sale. well, yes, but this, well, is not a source of

income, given how much i have to spend on large canvases there, uh, and that's holding an exhibition, then, yes. this is not income. and if one of the participants, trippy, turned to you and said i want to buy, you would consider selling. it seems to me that such work should remain in belarus after all uh-huh well , this is ours about us. hmm, more precisely, people like it, that is, well, if i were to sit here alone and say, yes, there is waste-ta-ta. well, i see that hmm people like it interestingly, that is, it’s clear what they would sell for any money any money, no one to the artist never offers. calm down. well maybe there. well, that's not good for us. and if not a hero, a triptych, or maybe there were already

some suggestions or questions about these works that we looked at or that other works were exhibited at the exhibition, there were some suggestions. yes, one person wanted to buy. e job august 9th hmm and you've been refused. well, yes, at that moment i somehow slowed down, but firstly, because i wanted to expose her. well, he is a very interesting person. he said that on this in the picture he is this frightened girl. when i began to find out he worked, but at the headquarters? kala uh-huh, that's how he promoted it too. here is the topic of this, as if the revolution was controlled, and then, when everything collapsed, uh, already there.